Tag Archives: anna maria horner

I mentioned in my QuiltCon blog post that I intend to begin a La Passacaglia quilt. Naturally, I’ve begun with more research than can help me actually do the work and make the quilt. I thought I’d summarize some things for anyone else who wants to do this project because it is blowing up all over the interwebs!

THE BOOK THAT STARTED THE CRAZE

First, we’re talking about the La Passacaglia Quilt pattern from the book Millefiori Quilts, which features 19 of Willyne Hammerstein’s quilts.

All that Italian actually does a great job of describing the style: millefiori is a combination of the words “mille” (thousand) and “fiori” (flowers). Certainly the concept of a thousand flowers applies to the La Passacaglia, which has many rosettes/flowers making up the quilt. Passacaglia comes from the Spanish “pasar” (to walk) and “calle” (street). Think walking or dancing down the street—perfectly appropriate if you imagine winding, cobbled lanes and compare that against the many curves in the quilt.

Instructions in Millefiori Quilts are for machine piecing the quilts. However, if you’ve ever done a Y-seam, you can understand why a majority of people are choosing the English Paper Piecing (EPP) method instead.

I bought ALL THE THINGS to start this project from paperpieces.com. (UPDATE 2017: Since the link from paperpieces is no longer working, Karen of the DIY Addict was kind enough to send me a link to her site, where you can still buy the supplies!)

Items include the book, acrylic templates, and all the paper pieces necessary to make the quilt. I might have bought a smaller set of papers if I had it to do over again since you can just reuse them, but it’s nice not to have to. Between these items and the fabric, it’s probably going to be the most expensive quilt I’ll make… but have you seen how awesome it looks?! I’ve also seen acrylics on Etsy that have holes at the intersection of each seam allowance in case you want to machine piece and mark your Y-seams.LA PASSACAGLIA INFORMATION

The La Passacaglia Quilt includes approximately 2900 pieces in five different shapes/sizes as follows:

This info comes from the number of pieces in paper piecing packs, rather than the pattern itself. I was surprised not to see any hexagons and also that there were only five shapes for the entire, very busy quilt top.

EPP GENERAL INFORMATION

Cutting the Fabric

Standard EPP protocol is to add 3/8” of fabric around each side. Common alternatives are ¼” or ½”. Acrylic templates are available in each of these size preferences.

Measuring the Pieces

In EPP, most pieces are the same measurement along all sides. (An exception from the pieces above is the isoscolese triangle, which is equal on the two long sides but has a shorter “bottom” that matches the length of the pentagon sides.) EPP pieces are measured along one of the equal sides.

Basting Each Piece

There are several methods of basting EPP pieces.

One method is to sew around the shape. Even this has several different versions. In one version, you just tack the fabric along each corner of the piece. In another, you weave your thread along the length of fabric between each corner. I plan to do the first of these since that’s the method I learned in my EPP workshop with Katy Jones of imagingermonkey. And it’s faster and doesn’t mean ripping any paper at the end of the project.

Another method is to glue baste. Some glue pens are specifically made for gluing fabric; I have the Fons & Porter version. I’ve also read that a plain, washable glue stick works well. (It worked great when I glue basted a zipper on this bag.) I have been gluing some of the fussy cut fabric pieces lightly to the papers to keep them from shifting while I hand baste around the edges. It’s been working pretty great. So far, I’ve only used the glue pen, but I’ll likely switch to the Elmer’s when that runs out.

Creating Patterns from Fabric (and being consistent)

Solids are a great choice for EPP. However, one reason I’m excited about this project is a chance to make repeatable patterns from fabrics. I’ve mentioned BEFORE that while I like the look of a repeatable pattern across an entire quilt, I deplore the monotony of chain piecing. Now is my chance to let precision shine! By “fussy cutting” fabrics, you can highlight a portion of the design. It works great with florals/swirls. I’m also thinking about including a few Heather Ross novelty prints. If you don’t know where to start, Google Amy Butler, Tula Pink, and Anna Maria Horner prints to see fabrics with repeatable patterns.

The tricky part about fussy cutting is ensuring all the pieces are consistent. Florence of Flossie Teacakes had the genius idea to make her own plastic templates and draw with pencil the outline of her repeating fabric pieces. Modifying this concept, I have been using erasable marker on the acrylic templates I purchased. It is working great and wiping off cleanly.

Selecting the Right Thread

For the back of your EPP, you can use any thread you want. I still use Aurifil brand thread for this because it doesn’t break or tangle as easily as other threads, but since you aren’t relying on it to hold long-term, you can use anything that will last until you stitch your pieces together.

For stitching pieces together, some threads are less visible than others, so you can decide how “handmade” you want your EPP to look. A woman in my EPP workshop said she swears by silk thread for connecting pieces. Florence blogged about a polyester thread (Superior Threads brand, Bottom Line type – bought mine here) that piqued my interest.

I can’t tell whether I like it. I admit the end result is much prettier/less visible stitching, but the thread is kind of “bouncy” to sew with. When I pull the thread tight at the end of each stitch, it’s kind of like a bungee cord; it stretches longer than it seems it should, then bounces back to a resting position. So it feels weird to sew with but looks fantastic! I think I will continue to use it. I hope it’s durable when I’m putting so much time into one project! I’ll post photos of my first Passacaglia rosette when it’s finished so you can compare.

RESOURCES

Other bloggers who have written about the La Passacaglia quilt that I found inspirational (obviously not an exhaustive list) include:

I plan to make my La Passacaglia in blue and orange. It’s my favorite combination, and I found a crazy amount of inspiration from @elisabew’s Farmer’s Wife and blue & orange Marcelle Medallion quilts. I’m concerned the cogs might flow together a little bit, but Pinterest user Quilt Passion (Åsa Holmér) did a good job of distinguishing hers using only a blue and white palette. My quilt will have blue and orange AND white, so with a whole extra color, I should be fine… right?!

Well, I think that about covers EPP generally and La Passacaglia more specifically. There’s nothing left but to dive in. Which is exciting… but also a little unfortunate since the planning/research is my favorite part, aside from having a finished quilt to show off. Since it’s going to take me forever, I have a WIPs page (tab at the top of the blog) available so it is easy to track my progress on this and a few other long-term projects.

I registered for QuiltCon 2015 today! It will be my first-ever QuiltCon, and I am very excited. As a total newbie, I was unfamiliar with the registration process but now have a few observations and suggestions to share.

Expect delays. I expected the MQG server would be overwhelmed at the time of registration, so this wasn’t a total surprise to me. The fact that the site was already experiencing major delays more than a full hour in advance of registration worried me. At that point, I was able to connect to the site about 3 minutes after I clicked each link. By the time registration opened, there were delays around 10-20 minutes, depending on the computer, place in the queue, etc. It took me 30 minutes to complete my registration for all 4 sessions I wanted to attend, including 2 workshops and 2 lectures. I logged in at exactly the time registration opened. I type 115+ WPM. I copied the discount code in advance so all I’d have to do was paste it. I did everything right, and the fastest I could get through the server was still 30 minutes. (I saw the first Instagram tags about 10-15 minutes before mine.)

Use the email link. I thought I would be clever and link to the site directly, saving the link-from-email step. I got errors on both Internet Explorer and Mozilla Firefox saying that my session had timed out and was never able to move past those errors to the website. When I clicked the email link, I still experienced a delay, but I was ultimately able to get through.

Use a computer instead of a mobile device. I saw this advice on the MQG website and Instagram, so I didn’t even attempt to use my phone for comparison purposes. But I figured I’d still pass along the advice.

Register in pieces. Prioritize the workshops you want to attend. If there’s a session you don’t want to miss, register for it first, then “modify” your registration to include additional sessions. There’s a tutorial for doing that here. Each time I clicked a link (including the “Add to Agenda” link for each session), it took about 5-10 minutes. If you consider all the people who could add one session in the amount of time you’re setting up your full courseload, it’s not surprising you could end up with a waitlisted status.

Prioritize workshops over lectures. Each time I added a session, I could still see the webpage listing all sessions while the request processed. I used that time to see which sessions were full already. Each session showed remaining seats available below the title. For perspective, about 20 minutes after registration opened, every lecture I saw still had 300+ spots available while at least 4 workshops were completely full (“Add to Agenda” changes to “Add to Waitlist”). Many more workshops had few seats remaining.

I was interested to see whether I could guess which workshops would fill up first. I did a pretty good job! Of course all this year’s speakers have impressive backgrounds. Some are always popular, like Anna Maria Horner, whose sessions filled immediately. Most quilters know who you mean if you simply write her initials: AMH. Similarly, Alison Glass and Lizzy House have great new fabric lines; their sessions were full in less than 30 minutes. And Lee Heinrich‘s popular book (she’s one of three authors) also meant her session filled quickly. If a designer or quilter is all over Instagram, (s)he is going to have full sessions. Duh.

I didn’t scroll through the whole list while I waited for my page to refresh–I only thought of it halfway through my registration–so I don’t have a comprehensive list of all the courses that were full; I did notice that the following sessions were full 20 minutes after registration, the absolute soonest I could complete my registration due to the crush of people on the MQG server:

The Meadow with Lizzy House (031)

Drive by Color with Anna Maria Horner (220)

Advanced Piecing with Lee Heinrich (715)

Creative Quilting with Your Walking Foot by Jacquie Gering (813)

By the time I got to my second run of registration (for the lectures) 10 minutes later–a total of 30 minutes after registration opened–I found the following additional sessions were full:

Modern Appliqué Overview by Alison Glass (120)

Composition in Modern Quilts by Bill Kerr (211)

Mod Corsage by Anna Maria Horner (230)

Intro to Embroidery by Alison Glass (420)

Basic Improv Quiltmaking with the Quilters of Gee’s Bend (515)

Little Changes, Big Variety by Angela Walters (812)

The courses above appear to be this year’s hot ticket items. If you got into these courses, congratulations!

Don’t “search” for courses. As noted above, each time the page refreshes (i.e. each time you click anything on the screen), you waste precious minutes. Running a search means that instead of scrolling down the page quickly, you have to wait for the page to respond to your search parameters and refresh. Instead, locate the course by scrolling down the page. Courses are listed numerically by course number, with the workshop section above the lecture section if you select the “All Registrations” option (versus only lectures or general admission).

I am only attending QuiltCon over the weekend since I have to save as many vacation days as possible for my wedding this year. I got into all four sessions that I prioritized!

I am nervous since I won’t know a soul at the conference center. If you’ll be there–and especially if you’ll be in one of my sessions–please let me know! I am most looking forward to making some real life connections.

At my first-ever meeting of the D.C. Modern Quilt Guild, I received some free fabric as part of the Riley Blake Challenge. The challenge rules are pretty broad: create anything from the fabric in the bundle, using any additional solids or Riley Blake fabrics you’d like, and post your project in the forum by February 17, 2014.

I decided to use the fabric to make something I was lacking: a trivet large enough for my roaster, which matches my [late] great grandma’s.

I adore the Marcelle Medallion design, and I decided to use it for my trivet. I tried paper piecing it this time. It was one of my first forrays into paper piecing, and it worked out pretty well, I think.

(I finished all but the binding of this project well before I started the Sew Kitschy paper piecing BOM. Check out my blocks here and here.)

My trivet includes a layer of Insul-Bright, which is a a heat-resistant batting. I would essentially have a mini quilt if I hadn’t used Insul-Bright. I later saw the Riley Blake blog has a free oven mitt tutorial using the same product, designed by Sew at Home Mummy. I even used the tutorial once before but didn’t manage to get a photo before I gave the oven mitt as a gift.

Another first for me on this project was hand quilting. I love the way it looks but was afraid to commit to doing a whole quilt. The trivet was a perfect size. I used Anna Maria Horner’s tutorial and size 5 purl cotton thread.

I scrounged my ever-growing stash for some backing fabric and was pleasantly surprised to discover I had many Riley Blake prints left over from my original Marcelle Medallion quilt. I picked this one in blue, and I love the star quilting from the front.

I added several extra borders to bring the quilt to full size. I almost always make queen size quilts, having had a queen size bed since I was about five years old, so this one was actually small for me.

My first “bonus border” (moving outward, it’s after the plus signs and the border that surrounds them) was inspired by this border on Lynn Droege’s Tangerine Rose quilt, exhibited at the Quilt Show in Madison, Wisconsin, in September 2012.

On my quilt, the finished width of each column is 2″. I made the sketch below to remember the height of each piece (dimensions show sizes to cut):

Pieces above are for one “set.” Each side of the quilt requires 5 full sets and 1 partial set. A partial set excludes either the left or right column. The finished border width is 4.5″ with cornerstones (cut at 5″).

I intended to have a solid second bonus border, but my half yard cuts were insufficient for the width I wanted. I added print squares as a filler. You might notice I also did this for one of the original borders when I accidentally measured wrong and made the strips too short.

The finished border was 4″ wide. The colored shaft of the arrow running the length of each border is 1″ finished, 1.5″ unfinished in width. Each side of the arrow is 2″ unfinished, 1.5″ finished. My arrowhead and feather pieces are each around 5″ tall unfinished. (I wasn’t being super careful about the height of these, but I just cut the shaft to suit.)

My final border (only on the sides) is another simple one: alternating blue blocks.

I got to photograph the quilt–all but the final bonus border–over the long Fourth of July weekend with the help of my two favorite men (my dad and boyfriend) in my favorite place (South Dakota).

The next question is how to quilt the darn thing. I have seen at least two people do concentric circles or spirals. A handful of people have quilted straight lines across the solid borders. One person had an amazing longarm quilter consider each border individually. Hopefully I can come up with something worthy of the quilt top soon; it would be a shame to leave this bad boy sitting on a shelf somewhere!